Calligraphy, pen strokes become an art

Algiers hosts calligraphy works from around the world

(ANSAmed) - TUNIS, JUNE 1 - There are Algerians and Tunisians as
well as Egyptians and Moroccans, but also Azeris, Bengalese,
Bosnians, Iranians, Pakistanis, Turks, Syrians and nationals of
many other countries.
All have been drawn together by a single passion: that of
calligraphy, which especially in the Arab world has been raised
to an art form in and of itself, in which what the mark
expresses is filtered through the sensitivity of those drawing
it. Until June 7 Algiers is the world capital of this art, with
calligraphers from Algeria (47) and twenty other countries (37),
who are taking part in the fourth edition of this ''festival''.
The event is housed in the National Miniatures and calligraphy
Museum, in which the most well-known styles are represented
(Maghribi, Kufi and Farissi) - the most highly praised by fans
of this form of expression, and by those simply made curious by
its originality.
The characteristic of Arab calligraphy is that, through pen
strokes, it is possible to express an interior world linked to
the actual meaning of the words chosen, which can be verses from
the Koran or strophes from a Sufi poem.
And so, through the repeating of the name of Allah or his
Prophet Mohamed, true moments of celebration can be created in
which the strength of the word is multiplied by a fascination
with the writing of it. And the latter is at times used (taking
advantage of the writing of the words) to compose an image: a
man, animal, or object through which a love of God in conveyed,
as well as respect for all that comes from Him. Starting with
what many hold to be the first form of Arab writing from Kufa in
Iraq (although recently some scholars have claimed otherwise),
distinguished by dry and sharp strokes, one arrives at the
current one in which equilibrium prevails, the perfection of a
unity which only the eye of the uninitiated or inattentive
observer could seem casual. The 28 letters of the alphabet
enable admirable combinations which become images and - with
them - emotions.
Today the techniques have changed and calligraphers are paving
new routes of experimentation, while at the same time conserving
the nature of their art. Over the centuries the qalam (the piece
of dry reed which was dipped in ink) has fallen into disuse and
now there are those who no longer use papyrus and paper but
instead opt for canvases and acrylic paint. While seemingly a
contradiction, it instead bears witness to the vivacity of an
art which it would be a mistake to consider destined for only a
small group of people, perhaps having in common the same
religion.
However, in line with the principle that demands that art
(because this is what we are dealing with) is not closed off and
does not exclude anyone or anything, the festival of Algiers has
also opened its doors to representatives of Asian calligraphy,
especially the Chinese and Japanese ones (with Koshun Masunaga
for the latter, currently perhaps the best calligrapher in
Japan), which is also an artistic expression, an expression of
humankind in its most intimate being. (ANSAmed).